Not quite to die for, then, but one of the antic Moore’s funniest capers yet.
Contemporary fantasy and New Age fiction take another good-natured licking in Moore’s ninth, which bears strong resemblances to his Practical Demonkeeping (1992) and Bloodsucking Fiends (1995).
It’s set in San Francisco, where mildly nerdy thrift-shop proprietor Charlie Asher experiences unprecedented stages of grief after his wife Rachel gives birth to their daughter Sophie, then dies. The presence at Rachel’s bedside of a tall black man wearing green hospital scrubs foreshadows appearances by people who give off a reddish glow just before expiring, leading Charlie to confront the tall black man (named, for no particular reason, Minty Fresh), who explains that Charlie has (like Fresh himself) become a “Death Merchant,” assigned “to retrieve soul vessels” from the dead and dying, and convey them to new host bodies. Okay, this seems plausible. But plots thicken as Charlie undertakes (so to speak) his new duties, aided and abetted and abused by his Punk Goth teenaged store-clerk Lily, his take-charge lesbian sister Jane, his ethnic tenants Mrs. Ling and Mrs. Korjev, the self-proclaimed homeless Emperor of San Francisco (on loan from Bloodsucking Fiends) and precociously paranormal Sophie, who exhibits Herculean toddler powers, while being guarded by two gigantic slavering “Goggies” (actually, they’re “hellhounds”). Complicating matters are Dark Forces that congregate in sewers, drive a vintage Cadillac and threaten to make dying even more unpleasant by unleashing chaos and Armageddon and all that stuff. Charlie retrieves his lost sex life and, having become a “Luminatus” with a killer workload, maintains universal order, thanks to the Emperor and the “squirrel people” (don’t ask), and a climactic shoot-out provoked when a black ship of death sails into Frisco Bay. The lunacy is appealing, but the book, alas, is way, way too long.
Not quite to die for, then, but one of the antic Moore’s funniest capers yet.Pub Date: April 1, 2006
ISBN: 0-06-059027-0
Page Count: 400
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2006
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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